Neither version of the story is a bad film, if you like the intesity solving puzzles before doom strikes.
There are no performances that will resonate, as the constantly shifting variables give everyone a form of schizophrenia to the point of mild annoyance.
There is next to no thrill the viewer gets from seeing Adams huff her way through the scenes, wondering if she’s imagining things or if her life is even worth living.
If you can handle a story with real tension and digital countdowns, start here.
If you like Knives Out, this film is at least a spiritual predecessor to that comic mystery masterpiece. Absurdity is a journey in an of itself. The mystery is a bonus.
This film is a good time showing beautiful bad people.
This is a solid entry for Netflix. In picking Blakeson, a mildly accomplished director with a good, albeit short track record and allowing him to thrive, its very clear indication that they’ve turned a corner as a studio.
It is sad, but time waits for no one.
Matthau’s line about this is better than any line in the film “I have seen it three times, and am of slightly better than average intelligence but I still don’t quite understand what’s going on. Is there a device we can use to explain to people what they’re seeing?”
For those unfamiliar with Alien or, better John Carpenter’s The Thing, Sea Fever will be a surprise.
I appreciate ambiguity of the ending and actors willing to be shepherds with their frailty revealed while they seek to defend the rest of the herd.
So if you haven’t watched Insomnia for a while, or even if you’ve never watched it, take the opportunity. It’s anything but wasted time. It’s excellent filmmaking.
Park and Jeon do an excellent job of shifting the emotional landscape.
This film made impression enough on me that I started following Oldman, there and then, and I have never regretted it.
It’s hard to forgive a director of Altman’s skill the fact that he never comes close to having us fooled.
How one reacts to The Lie will depend on how far along they ride with its conceit.